90's: from low relief paintings to polychrome wall reliefs

In the 90's, images of the ordinary object, unnoticed, unlooked at,  debris found in the street, rendered inherently abstract in the photo-negative, continued to inform my work. I used my repertoire of painting techniques, and tools: the airbrush, air gun, brush, trowels, my fingers, masking and making stencils, squeezing paste through stencils and whatever else  came to hand to charge the painting or drawing with spatial texture and drama. I felt I was a 'foolish, extravagant spirit, full of forms, figures, shapes, objects, ideas, apprehensions, motions, revolutions." And I was thankful for it.

In the mid 90's, I began making low relief paintings, initially inspired by a vivid dream of mountainous textures of paint in relief with miniature TV screens embedded in the recesses. By spraying paint and squeegeeing molding paste through stencils onto the canvas, I was able to create a low relief painting of that vision, and then of others which followed. I continued to use imagery of the found object for the structural elements of these low relief paintings, keeping true to my vision of finding beauty in the ordinary, transforming the found object by abstraction.

At a certain point I wanted higher relief than what I could get by using molding paste squeezed through stencils onto the canvas. By the end of the 90's I was using clay to make studies for higher relief pieces and was molding and casting the pieces, first in gypsum (design cast), and then in resin (aqua resin). I finished a piece by painting the final cast, using both brush and, sometimes, airbrush.